2018

A person in monastic robes surrounded by multiple hands reaching towards them from the darkness, with a serene expression on their face and a plaque with east asian characters in the top right corner.

Prince Siddhartha the Musical

The musical was produced through the collaboration of Fo Guang Shan (FGS) Chun Un Temple in Cebu, Philippines and the Buddha’s Light International Association (BLIA) Cebu Chapter in 2007. Depicting the life of Siddhartha Gautama, the Indian prince who became the Buddha, the musical incorporated songs from the “Sounds of the Human World” written by Venerable Master Hsing Yun. It has also embraced elements from the Filipino and Indian cultures, music, and arts. Another distinctive fact is that almost all of the performers are Catholics, and the play is directed and choreographed entirely by Filipino artists.

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Immersive art experience: a visitor engrossed in a captivating visual projection by The Propeller Group in a dark gallery space.

The Propeller Group

Established in 2006, Propeller Group is an artists’ collective based in Vietnam working in film, photography, sculpture, and installation. Merging the sophistication of an advertising firm, the pragmatism of a production company, and the experimentation of an arts co-op, Propeller Group refers to itself as a platform for collective thinking and coordinated action. This exhibition will feature work seen in Los Angeles for the first time, including the film The Living Need Light, The Dead Need Music (2014), a project created for the New Orleans Biennial.

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A confident woman in a stylish outfit poses in front of a mechanical, gear-filled backdrop, exuding a futuristic steampunk vibe.

Buika

Hailing from Spain’s Balearic Islands, Buika’s voice knows no boundaries when it comes to language or geography. She has collaborated with musicians and singers in languages beyond her native Spanish and Catalan, and has recorded tracks in English, French, Portuguese, Farsi, Italian, and Armenian.

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Colorful folkloric dance performance celebrating traditional mexican culture with dancers in vibrant costumes and sombreros under a shower of celebratory streamers.

Ballet Folklórico de México de Amalia Hernández

Ballet Folklórico de México de Amalia Hernández make their highly anticipated return with an acclaimed repertory that brings together the music, dance, and costume of Mexican folklore from pre-Columbian civilizations through the modern era. Their repertory includes more than 40 ballets of exquisite choreography that pay homage to local dance traditions from over 60 regions of Mexico. Amalia Hernández founded the Ballet Folklórico de México in 1952, having embarked at a very early age on a quest to preserve the dancing traditions of her beloved country. More than six decades later, the Company is admired as the best of its kind in the world.

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Recelebration

Recelebration is a group exhibition of recent acquisitions from the Luckman Permanent Collection. 

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A dynamic contemporary dance performance with dancers in motion, featuring a backdrop of stacked white buckets that add an industrial aesthetic to the scene.

DCA LA Dance platform

DCA LA Dance Platform have been spearheaded and initiated by the Department of Cultural Affairs for the City of Los Angeles in collaboration with Ford Theatres, Grand Performances, LA Dance Project, and Luckman Fine Arts Complex to support and celebrate dance in Los Angeles. 

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A man in a white tuxedo and black bow tie poses against a plain background, giving a distinctive look with a hint of charisma.

John Waters

A celebrated filmmaker, director and writer, John Waters has built a reputation for shocking his audiences. Many of the cult legend’s films satirize suburban America as well as many social conventions and attitudes. He started out making short experimental films in the 1960s, often using friends as actors and holding renegade, underground showings in offbeat locales. Roman Candles (1966), one of his early works, marked the first time Waters worked with Divine, the larger-than-life drag queen now synonymous with Waters’ body of work.

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